Throw Me The Statue - Moonbeams

is the creative outlet of Seattle-based bedroom producer/songwriter Scott Reitherman (and four seemingly very talented friends). This, their debut record, is almost entirely self-produced, a fact they seem keen to emphasise in the in-sleeve photo of Reitherman surrounded by a plethora of instruments and mixing boards. It’s either a testament to Reitherman’s skills or to modern technology, then, that this is a great sounding album.

The beauty of ‘Moonbeams’ is that, much like records from the likes of Broken Social Scene and Animal Collective, its many layers reveal themselves gradually over time. Its sharp pop sensibilities can often be enjoyed with a passing listen, but at first it’s very difficult to scratch any deeper than that. The album’s real rewards lie in patience and persistence - as each song becomes more familiar, every little subtlety makes itself known, piece by piece. It takes many listens to fully grasp everything ‘Moonbeams’ has to offer, but it’s well worth investing the time.

Even better still, the album’s constantly shifting styles keep the listener on their toes throughout. The album opens with ‘Young Sensualists’, a tale of two friends who fell out over a girl: its gentle keyboard chord progression punctuated by a rattling drum synth and a delicate, off-beat bassline hanging from its edges. ‘Lolita’ hints at the relentless, cyclical indie-pop of Clap Your Hands Say Yeah, while the energetic skip of ‘Your Girlfriend’s Car’ wouldn’t be out of place on a Wilco setlist. The album takes it all the way from slow and subdued (‘Written In Heart Signs, Faintly’) to melodic, distorted rock (‘Take It Or Leave It’). There is simply a wealth of variety here that never comes close to predictable.

The absolute standout track is ‘Conquering Kids’. While it’s not necessarily the most immediate track, its beautiful, understated melody is one of heart-rending melancholy. I was young once, but not today / I was making ground and then things changed’ sings Reitherman, making for perhaps the album’s most spine-tingling moment. Until this point, the lyrics may have taken a backseat to deciphering the complex arrangements, but this strikes such a chord that it simply demands you go back and listen to everything else Reitherman has to say, too.

This album is more a collection of great songs rather than a flowing, deliberate sequence. This is the main thing preventing its length (just shy of an hour) from becoming tiring: each song has its individual quirks, something new to discover. The result is an album with replay value that is pretty much unparalleled by most records in recent memory. A fantastic debut.